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Recent Blogs Posts

I have had a recurring issue in my photos and videos of a weird grain that happens even when there is plenty of light. None of my videos or photos are as crisp as they should be. I have tried resetting all the setting on the camera. I am using a 64 gb U3 80 mb/s and the first link was shot with a 64 GB U3 100 mb/s. It doesn't seem like low light noise even though it gets worse in low light

this is a video I shot for an example. This was at F6.3 400 ISO Cinelike D and started
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I have been reading some of the reviews on the new Olympus Super Model but none have thought to mention the performance of the new camera with the older Four Thirds lenses. I see that the Mkii like its predecessor supports both phase and contrast detection AF and since I see that Oly are still producing their Super Grade lenses I assume that the new camera will focus the FT lenses via an adaptor as before. However even DPR make no mention of this in their review. Has anybody out there heard any
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Panasonic's new GX8 is packed with cutting-edge developments for Micro Four Thirds

Don't just look at the Lumix DMC-GX8 as an update to the two year old GX7, or a flat-top version of the recently released G7. I had an afternoon to try out the GX8 recently at a rather blustery Brighton and discovered why the GX8 is rather special.

I have been building up studio kit over the past few months, studio flash, soft boxes, beauty dishes, and a Sekonic L-478D light meter.
The meter can be used for flash, in fact the reason I bought it, but it does of course read ambient light as well. This meter can be profiled to match the cameras dynamic range for it claimed more accurate results.
So today I did some tests and created a profile for shadow or cloudy conditions. This revealed a dynamic range of 8.7 on the GH3. That's
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When I switch Noise Reduction to OFF, Noise Filter to OFF and Gradation to NORMAL I get the best quality and least noise in all shooting situations. Can anyone explain this contradiction. It's driving me crazy.

First of all I must say sorry because of no pictures in thread. It's due to busy times and there is a mess with all the images (I havent even managed to unload the pics from one CF card for couple of months).

After my wife complained several months about the recycling time of FL-36R I made her a christmas present with Metz 52 AF-1.
Out of the box it was a nice piece with leg and soft bag. When I powered it up it got a bit strange as I was used with buttons and wheel but it
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A friend of mine was playing with his band in a village dance party near my home couple of weeks ago and asked me to join. As the weather was nice, it was only ca 30km away and hasnt seen them performing before thought it would be fun to spend the evening there. Took along my E-1 with 35mm, 14-42 and FL-36R. Soon found that the kit lens was that I took for wide angle shoots wasn't actually the one needed. Would have benefited more from 40-150 lens plus later in the evening the lens was a bit too
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Have used only basic post processing elements so far (exposure, WB, etc) but while looking at Robert Watcher video about layer masks thought it doesn't look so hard. Well it sure would help a lot if one would know how to use the software .
The first one was made with separate layers and lasso not with masks as in video but lets take it step by step and also as read from the thread there he started the same way. Next thing to do in the future is to study how these layer masks work and
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Starting the blog for reminding me the error I have made way too many times. There are many times when I haven't taken the minute to step closer or stop for a sec. For the first problem there are also couple of additional solutions a) get a camera that has more than 5Mpix for cropping b) get a longer lens because @ 150mm kit lens is a bit soft. But for those solutions there is one big and very old problem - cash

On Monday at my way home from office I saw windsurfers on the field.
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As I revealed on the forum earlier in this week after a tip-off from a highly trusted contact in the camera industry based in Japan, I am completely convinced that the Olympus OM-D E-M5 sensor is not made by Panasonic, so marking an end to the exclusive use of Panasonic sensors in Olympus Four Thirds and Micro Four Thirds cameras since Olympus' last Kodak
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Over at our sibling site I covered the issue of diffraction limiting digital cameras some time back. If you reduce the aperture setting in your lens beyond a certain point that relates to the pixel pitch of your camera's sensor and your images will get softer because of diffraction.

With 12.3 megapixel Four Thirds and Micro Four Thirds cameras the theoretical diffraction threshold is almost exactly f/8 although in practice I find that f/7.1 is the aperture to aim for. Users of Micro
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I Have a Lumix GF2 and I want to record videos of bands playing for at least 100 mins but my camera is limited to 29 minutes of recording time ( some VAT regulation in the UK) is there a fix / hack to get round this so I can record up to the maximum card capacity.

i am trying to decide on a macro lense for my olympus e510. could anyone recomend a good one for me and give me reasons why you are recomending what you recomend? are the zuiko lenses considered the best for olympus cameras? i have done a little research into some of the sigma & panasonmnic lenses but have not gotten any real feel for them. i was looking at the sigma 30mm 1.4 but it got as many bad reviews as it got good ones. i did notice that a lot of the bad reviews came from cannon or nikon
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As I stated in my first blog post, this one is where I will begin to criticize the Four-Thirds sensor. Most criticism comes from those who argue for better performance at high ISOs from our sensors because of a perceived (and inaccurate) inferiority at minimizing noise. I have, I think quite well if I do say so myself, argued that when you bring lenses in to the equation, Four-Thirds is the best crop-frame system available for its low-light performance. I stand by this assertion, but I am not
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The Four-Thirds format is much derided outside the ranks of its users. In applying for a photography gig recently, I was told that only “professional equipment” could be used, when I pressed for information, I was told that this meant Canon or Nikon. All others need not apply. I have a feeling there are a few users Leica, Hasselblad, Mamiya, among others that would take issue with this. But as a Four-Thirds user, I do too. I am going to do two posts on the alleged faults of Four-Thirds. The
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I stopped today whilst passing a vinyard, attracted by the strong backlighting and the translucence this gave to the vines and the trees beyond. However, the shadows and highlights that I wanted to preserve were way beyond the dynamic range of the camera, especially as I was saving as JPEG.

I tried recovering these in pp using highlight and shadow adjustment on the best balanced JPEG from my bracketed sequence, but I've still introduced some noise in the shadows (albeit cleaned up
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Despite my well-intentioned resolution, I left the house today without my E-PL1. It's no excuse but my daughter had a doctor's appointment and I was in a hurry. As you might guess, on the way home I saw numerous photo opportunities. In the high street there was the comical sight of two people desperately trying to load an implausibly large sofa into an impossibly small car and on the drive home there were any number of autumnal trees backlit by the low, late afternoon sun.

Thankfully it's now the time of year in the UK where we can comfortably wear fleece jackets again, with pockets big enough to slip in an E-PL1 and Panny 20mm. I grabbed this shot of our local high street tonight while on my way to collect a chinese take-away, mainly to test the camera at high ISO.

In my last blog entry I discussed the notion that perfection in nature, although much sought-after, is not necessary and that we should accept flawed beauty as individuality. Following on from that I'd like to question the desire many of us have to achieve perfection in our photography, which can become almost an obsession – a Holy Grail.

There is nothing wrong in trying to better ourselves, of course, producing the best quality work that we can and striving to improve, but it can
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Photographers naturally posses a desire to capture beauty in nature and strive to produce images that display it to perfection. We all want the perfect sunrise, perfect waterfall or perfect vista. When it come to smaller details we are no less demanding. Nothing in nature is more beautiful than a flower but we cannot photograph any old flower, it has to be a perfect specimen.

The same with leaves. Yesterday I spent a pleasant hour in a local park searching for fallen leaves, not
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I was just wondering if anyone has had experience with the Sigma 70-200mm f2.8 EX DG APO Macro HSM II (phew!) zoom lens? I am considering it as an alternative to the Oly 50-200. The Sigma has the advantage of internal focusing and zooming. My experience with Sigma lenses has generally been good. I see they have just released an OS version of this lens but that variant doesn't seem to be available in Four Thirds mount, not that that is likely to be an issue with anybody except E-1 users.

Micro Four Thirds is not so much a new format in digital photography (“standard” Four Thirds using the same sized sensor has been around for a number of years) as a new concept, and one which is taking the world of photography by storm. So much, in fact, that it has already spawned a number of imitations from Ricoh, Samsung and Sony – using different sized sensors but all broadly based on the same concept, and others are bound to follow. For now, though, MFT remains the undisputed leading format
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We've discussed photographer's rights a lot just lately, but there is another side of the coin – photographer's responsibilities.

Yesterday I went to a show put on by a local dancing school and very professional and entertaining it was, too. Before the show started the audience were asked to refrain from flash photography as it could annoy others in the audience and also interfere with the filming that was taking place to produce a DVD of the performance. I didn't have my camera anyway,
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In a perfect world, when digital SLRs first became feasible, the major manufacturers would have all got together to produce the perfect camera system. It would have had the 4/3 sized sensor and retained the 4:3 aspect ratio. Canon and Nikon would have worked on the focusing, sensor IQ, noise control and shutter mechanisms. Fuji would have been responsible for optimizing the dynamic range of the sensor. Olympus would have provided the innovation for dust reduction, live view, in-body image stabilization,
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Looking around other forums it is apparent that Micro 4/3 is buiding up a real head of steam. People are buying into the format for any number of reasons but they are all agreed on two things; they love the small size and are impressed, even surprised, at the image quality.

There are compact users who have longed for better quality but did not want the inconvenience of carting a DSLR around. Many rangefinder enthusiasts have bought into the concept (some experiencing digital for the
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We take it for granted that technology improves our lives and that anything new is progress and that all progress is good. Usually this is true; how many times have you heard people, in an illogical time warp of nostalgia, reminisce that “They don't make cars like they used to.” This invariably stirs my memory of plastic seats, a heater only on de-luxe models and a constant battle against rust in the wings and sills. Much as I, too, have fond memories of my Anglia 105E and Vauxhall Viva, I can't
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Following my earlier letter to the Metropolitan Police Commissioner, here's a letter I've now sent to the Home Secretary:-

Dear Mr Johnson,

I am writing to you in your capacity as Home Secretary to express my satisfaction at yesterday's ruling by the European Court of Human Rights that the current indiscriminate use by police of Stop and Search powers under Section 44 of the Counter Terrorism Act is illegal.

Sometimes in life we encounter issues and injustices that we feel strongly about. But, other than voice our opinions to anyone who will listen, what do we actually do?

The answer, in my case at least, is very little or nothing. Take the issue of photographer's rights, for example. I did attend the gathering of photographers outside New Scotland Yard last February, but since then all I've done is huff and puff on various forums.

The name is Scott J. Owens, life-long resident of River Ridge, Louisiana (burb of New Orleans). Multimedia Producer & Owner of Scout Pro Productions, LLC., I am also a shutterbug. Recently got myself a Panasonic GF1 w/ EVF and the 20mm lens. I think I will start blogging about my photo jouneys, thoughts, expectations, etc. with the GF1.

What to expect from my blogs Well, a little of everything from discussions on future photography realms, cameras, videography, & wildlife
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Some photographers are lucky. They live in areas of outstanding natural beauty such as the Lake District where they cannot fail to regularly take masterpieces as a matter of course. Those of us unfortunate to live in more mundane areas are destined to stomp around complaining we have nothing worth photographing whilst dreaming our lives away planning the next trip to some real scenary.

But wait a moment, isn't beauty in the eye of the beholder? Don't we, as photographers, have a creative
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Anne and I have been married for coming up on 34 years. After being away in the big city or sometimes just because I feel like it, I still love to bring home a small bouquet of flowers to bring out Anne's beautiful smile and expressions of appreciation . . .

. . . and I still receive little personal messages as emails and sometimes even "love messages in the sand" from Anne.

When out with a couple of our friends enjoying ourselves around the beach last week
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I took the camera along to a Halloween party, and came away having learnt a number of lessons:

I should change my playback setting back from 'auto playback' to '2 sec'.

I had originally set this because I was annoyed at looking at the picture and turning the scroll wheel to zoom or hit the left arrow to compare to the previous shot, only to find I'd jumped back to camera controls. However, this is a fairly minor irritation compared to applying a deletion lock instead of

The E-620 has three focussing modes: Single AF, Continuous AF, and MF. For S-AF and C-AF, the release priority can be set via the menus and either a single focus point or all seven focus points can be used. Both S-AF and C-AF have a '+MF' option, allowing manual focus to be used.

As has been discussed recently on the forum, the E-620 has a slightly odd behaviour in S-AF mode with release priority off. Once the shutter button is pressed it will take a picture once it finds focus,
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The Live View mode on the E-620 certainly has a number of foibles. It seems rather odd, for instance, that face detect is off in 'Auto' mode - which is where I would expect most users who wanted to use face detect to be. It also seems a bit odd at first that face detect does not work unless all the focus points are active - at which point the camera is suddenly able to put a focus point somewhere other than on one of the focus points. Clearly Olympus have designed Live View to be used in conjunction
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We have high expectations of Nature. We love to photograph landscapes, flowers, trees and, in the autumn, fallen leaves. But we always want to find a pristine example, the perfect specimen, before we press the shutter.

If we have a snowfall we want to capture the virgin snow before anyone, or anything, has walked on it. We expect a beautiful scene to be free of electricity pylons and other man made intrusions. To warrant the attention of our lens a flower must be perfect in every
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Last Saturday, a number of astronomers from the Division of Planetary Sciences visited Arecibo Observatory after their annual meeting in San Juan. I was there, working, but I brought the E-620 along and managed to get some pictures between talking to the visitors.

One thing I certainly learnt was how fast and accurate the camera is. I took almost 200 pictures, and only 1 was not correctly focussed. I didn't miss a single shot because the camera was too slow. Not a single shot
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Anne and I were heading up to the Bruce Peninsula on Saturday to spend a weekend with our friends. It is beautiful countryside and many opportunities struck my eye as I drove along the 2 hour trek to our destination.

The main reasons that I didn't stop to grab pictures along the way, was because it was around noon when we were traveling - as well as the roads that we were taking are narrow, hilly and difficult to pull off to the side - and our friends were expecting us to be there for
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You only need one camera, but a boy can never have too many tripods. Or so it seems with me! I already have a Benbo Mk1, which is incredibly robust, sturdy and flexible, a Benbo Trekker, which shares many of the qualities of it's bigger brother but is smaller and lighter, a Gitzo 106, which is very compact and lightweight and a Kennet of uncertain vintage which extends to about 10 feet, for which you also need a step ladder. With this selection I can cover anything from looking over a nine foot
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I took my complete Bronica system to town today, the first time it's been out of the house for over a year. The plan was to see how much trade-in allowance Cameraworld would give me against, for example, an E-P1 and/or a 9-18mm ZD for my E3.

But it didn't happen. I just couldn't bring myself to do it. I had a look in the shop, of course and it was full of goodies. Yes, they had the E-P1 with both 14-42mm and 17mm lenses. They also had the GF1 with 20mm and EVF – what a combination
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The way program mode works (auto mode and the various scene and art-filter modes generally follow this) should be easy to understand. After all, Olympus have kindly given us a chart at the back of the manual letting us know how the camera will operate with the 14-42 mm kit lens at 14 mm. Unfortunately, there is a problem with this: the chart does not reflect the default behaviour of the camera.

On the chart, the camera keeps the aperture wide open (f/3.5) as the light level climbs
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Unlike on my H2, where there was not a wide range of ISO levels without intrusive noise, the Auto ISO on the E-620 can, potentially, be useful (particularly for those, like me, who are just starting out and haven't quite got the hang of where the ISO button is yet). However, like all tools, it requires understanding in order to be used properly.

The Auto ISO setting applies, by default, to most modes. It can be activated for M mode, but cannot be set to anything other than ISO 200
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A few days ago I visited a local art exhibition. I always find this a rewarding experience on several levels. Not only is it an opportunity to admire the work of some very talented local artists, it's also a valuable exercise in sharing their vision and interpretation of familiar local scenes and, through their eyes, discovering new locations that have hitherto passed me by.

Looking closely at the work of several artists, I was struck by their diligence at recording every feature
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When I started looking for a DSLR, I had two main uses in mind. I wanted a camera for general photography (not a problem), and I wanted a camera for taking pictures of birds (slightly trickier). With a 1.7x tele-converter on my H2, I could reach an EFL of 734 mm; it would be nice to have a similar reach (and focussing in less than a couple of seconds). To make sure this was no easy task, I had a budget of $1000 to work on. I also had no chance of handling the camera prior to purchase, so everything
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An important innovation in recent years is image stabilisation. First developed for video cameras, image stabilisation is now a common feature in all kinds of still cameras. Image stabilisation is designed to minimise the problem of motion blur in an image caused by the movement of the camera. In other words, the system uses gyro sensors to detect movement of the camera and compensates for that movement to prevent blurring of the subject being photographed.
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After around a year of looking at cameras, I have finally bought an E-620. I am now starting to learn how to use it, and thought it might be of interest to some to share my experiences via the new blog facility here, and possibly to get some feedback on what I'm doing wrong!

A bit about me:
This is the first DSLR I have owned, my previous camera was a Sony DSC-H2, although I have used DSLRs before. A couple of my H2 photos have ended up as postcards, and one was shortlisted
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Why are there so few women photographers? At all levels. I was prompted to consider this question by a very amusing article (more of a rant, actually) by Ann Toon in the latest issue of Outdoor Photography magazine. Ann is a very successful nature photographer in her own right (in her own right...see, I'm only on the fourth sentence and already I'm being patronising, if unintentionally) and one half of a photographic partnership with her husband Steve.

Yesterday's picture on my blog was taken several days ago in bright sunlight. Not long afterwards the cloud rolled in again, making views that included the sky rather unattractive. It was time to look closer to my feet and I came across this little grouping of bramble leaves in various stages of colour change. I felt they were a miniature representation of Autumn and the colours seemed particularly vibrant in the soft, even light.

SWD stands for SuperSonic Wave Drive. It's Olympus' own technology and is used in three areas across the company's camera body and lens products.

Olympus has developed and patented several technologies that centre around the transmission of mechanical energy through high frequency vibrations. These vibrations are at so-called 'supersonic' frequencies in excess of around 25KHz, and they project wave forms through otherwise solid media,
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Andy raised a point about image aspect ratios in a comment on Ian's Daily Hints and Tips Blog yesterday. One particular feature that makes Four Thirds DSLRs unique is the image aspect ratio. In common with most compacts the ratio is 4:3 (not the reason for the name of the format, just a co-incidence). However, all other DSLR formats and systems are 3:2 in line with the old 135 (35mm) film format. The question is, does it matter?

That photograph was taken in October 2008. My friend whom I was with at the time, David Williams, emailed me the picture reproduced below a couple of days ago to show how much the scene has changed since I took that photograph. His version was taken in May this year. I was shocked to see how radically
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I'm often asked why I have a special interest in Four Thirds. I must emphasise that my fundamental interest is in taking pictures and photography in general, regardless of brand or system platform. But ever since Olympus introduced the OM system in the mid-1970s, I have marvelled at how Olympus has applied its engineering in a re-inventive way. That philosophy remains as true today as it has been over the last 50 years.

Some regulars on the Forum will be aware that for a few years I've been suffering from Parkinson's Disease and, more recently, depression. I won't bore you all with the details of how that has affected me, but if anyone really wants to know here's a link to a very long post I made on the Parkinson's Forum (where I'm known as “Innominate”) http://www.parkinsons.org.uk/pdsforu...rky-depressive

No.5: A quick look at some detail differences between Panasonic Leica and Olympus Zuiko Digital Four Thirds lenses.

Panasonic Leica lenses for Four Thirds bodies are not very common, but they are highly coveted. Designed and manufactured by Panasonic's own engineers, in Japan, Panasonic's Leica-branded lenses need to meet tight optical quality standards set by Leica in Germany.

Not all Panasonic lenses are branded Leica, indeed only one Micro Four Thirds Panasonic lens
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I've been blogging for about a week now but in many ways it seems a lot longer, not least because prior to that I only had a vague notion about the concept of a blog. In this Internet savvy age that might seem a little naïve but I do tend only to acquaint myself with aspects of the modern age, or indeed any age, that interest me or directly affect me. A bit like Homosexuality or Christianity, really. I know they both go on and I have no axe to grind with either, but their relevance has passed me
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As DSLR owners we often tend to dismiss digital compacts as inferior cameras that are hardly worth carrying, due to their compromised image quality caused by the tiny sensor. It's true that at high ISO IQ can leave a lot to be desired, but keep to around 100 ISO in good light and the quality can be
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What a lovely day it's been. As I walked my daughter to school this morning I rejoiced in the gentle warmth of the autumn sun on my face, tempered by the slightest cool breeze, and couldn't but notice how clean and fresh everything looked, washed by the crisp morning light. I just knew I had to get out to take a picture. It was a bit illogical, because the sky was that insipid, milky blue that unfortunately often contrives to ruin the potential of such promising days in terms of landscape photography.
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Well, once again I'm up ridiculously late so before I finally do go to bed I might as well post today's entry to my blog.

Ian recently revealed on the forum that he keeps chickens and that reminded me of this shot, which I took in May 2008 in Norfolk.

We had a holiday cottage for a week, next door to a smallholding from which poultry of various breeds regularly came a visiting to our garden. The owner seemed to take the concept of freerange to a whole new art form as
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When you shoot a landscape in many ways it's like taking a portrait of a person. You can choose to show either its good side or its bad side, capture its mood, portray its personality and include enough visual clues to tell the viewer a bit about what goes on there. Rather than just aim to capture a beautiful scene, why not try to make your subject more interesting by attempting to show its true character, by taking a portrait of the place?

No.4: What you need to know about live view autofocus and which bodies work best with which lenses.

Live view means being able to see what the lens on the camera sees, viewed either via an external screen, or an eye-level electronic viewfinder. Live view is not, as far as I know, officially part of the Four Thirds standard. Panasonic and Olympus have developed their own solutions, but thankfully they do embrace the issue of compatibility - up to a point.

If someone asks me the quickest way to improve their landscape photography I enquire if they always use a tripod. If they don't, that's the answer. The popular assumption is that you only need a tripod if the shutter speed falls below the level that you can hand hold with sharp results. This is certainly true, but is just one of the advantages of this remarkable and versatile three-legged friend.

During our 2008 Costa Rica Adventure - while wondering through the streets of Alajuela, I came across a fellow in a wheelchair, working on motorcycles in a small garage in amongst retail stores and homes on a side street. It was evident that he was dealing with customers at that time and so I kept track of the location and checked back a few times to see if I would be able to get a shot of him working.

It never happened. 2 or 3 times I went there and the place was closed.Then one
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Some of you may have already been exposed to this thread on the forum - but it gets buried quite quickly there and I thought that it would be valuable content to have in the Blog. It is a post that really shows the value of the Olympus weather sealing that is part of the E-3 and several of the lenses in their line up. I really value this as I have destroyed non-Olympus cameras and lenses in the past by working unprotected in situations like this - and ones that were far less extreme.
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No.3: Preview the effects of the motion in your scene according to the shutter speed selected.

You are probably aware of a facility that many cameras, that have any serious pretension, offer the user, namely: depth of field preview. You press a button, the lens aperture closes up and you can see how the distance of the sharply focused area is affected. The smaller the aperture, the greater the distance is covered in focus, or the depth of field.

Yesterday, in my very first blog entry, I questioned how I would be using this new media and what I had to offer. The very first comment I received, from zzlipps, was in the form of a request that I share some of my landscape techniques. I must admit that is one area of photography where I have done relatively well in the past and it is a subject dear to my heart, so it's probably as good a place as any to start.

The common misconception is that in order to get spectacular landscapes
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I know that when I post images that show my raw unprocessed "before shots" or "all 1800 images from a wedding" - I am really making myself vulnerable and exposing myself as not being nearly as good photographically as some might presume that I am. The mystique of my images is gone!

In some ways it's a little like Penn and Teller exposing the simplicity and trickery of magic acts - when what has kept people coming back to magic shows for years and years is the presumption
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UPDATE:I missed out the fact that the Olympus E-620 and E-P1 models have a new facility to edit the first two characters of the filename for personal customisation (just the second character when shooting in Adobe RGB space).

No.2: Today we look at how Olympus and Panasonic Lumix formulate their image file names and folders on the memory card.

Olympus:

Inside the standard DCIM (Digital Camera IMages) folder, you may find one or more sub-folders which
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Oh here we are and here we are and here we go
All aboard and we're hittin' the road
Here we go
Bloggin' all over the world!

All I can say is I'd better hold on tight, I'm frightened I might fall off!

Being a little naïve about these things I'm not totally sure about the difference between a forum post and a blog entry. As I understand it, I should still use the forum when I want to start a discussion but use my blog when I want to keep the focus
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I am terrible for making something out of nothing. I know - - - you're not supposed to do it. Your supposed to get it right in the camera.

My problem is that I am a visually spontaneous person who, is "into the moment" and far less concerned with whether I have it technically correct or composed perfectly. Mind you - I want it close, so that I at least have content to work with in the darkroom (I processed all of my own colour and black and white work in my traditional darkroom
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Thought that I'd make my first Blog post using parts of a recent forum thread where I displayed some dramatic images taken recently at a local fair - and was asked how I came to the vibrant colours of one of the images in particular.

This is my final Display Image - which will make a great framed print. The shot was taken with my handlheld Olympus E-3, with 12-60 SWD mounted. Exposure was f3.7 @ 1/80'th second : 250 ISO

No.1: Auto Gradation mode on Olympus E-System models can be useful but use with care, especially if you are shooting RAW.

Welcome to the first in a new daily series of concise hints and tips for Olympus and Panasonic Four Thirds (and Micro Four Thirds) camera users!

Today, I'm looking at the Auto Gradation picture mode that Olympus E-System cameras of recent years have featured. You can see the gradation mode on the camera's LCD screen settings matrix, denoted by an
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From today, any registered forum member on Four Thirds User can start their very own blog, right here.

Blogs and forums
So what is the difference between a blog and the forum? Think of a forum as a place to discuss things. It's a place where many talk to many.

A blog is different. A blog is about you talking to many; the focus is on you and your subject. Although you can respond by commenting on a blog, fundamentally a blog is about you and what you have to say;
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